Angie Errigo

As elegant as the man's clothes, this handsome biopic traces 20 incident-filled years in the life of the designer.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

A strangely drab adaptation of Diderot's much racier novel.

Meat and potatoes teen drama.

It’s sufficiently well done to qualify as cute, quite the thing for a girlie outing with grub after, but it’s utterly phoney baloney.

Far-out touches and liberal application of metaphor are compensated for by intensity and two mesmerising performances.

Ryan and Broderick, while individually first-rate, don't combine as sexily as they ought, making the inevitable outcome a little too pat in an otherwise genre-bucking affair.

What lifts this at key moments is the outstanding Phoenix's simpatico performance and we can add to the credit side happy casting that for once has assembled actresses and actors who really do resemble each other and present plausible siblings.

Sumptuous to look at, with some decent performances but Branagh's attempt at this gothic horror just doesn't hold together convincingly and fails to engage.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

A very unfocused, sporadically funny film, lifted by its (predictable) visual splendour.

It's all totally farfetched and skates imperturbably over several questions of logic that will spring unbidden to the most accepting mind. But it's entertaining, inconsequential fun.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.

Against the odds, perhaps, but part three injects a tiring franchise with new life and some surprisingly dark jokes. Some fun cameos and another winning Dan Stevens turn also add much needed unpredictability to the miniature goings-on.

Cute, cute, cute. No bouquets for originality, but it pushes all the buttons of this mini-genre, and Heigl and Marsden ring dem bells.

A curious mix of Britpop music cues and moppet-bait storytelling makes for a diverting, if derivative kids' animation.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

Smart, intriguing, funny and sad, with some primo wisecracking dialogue.

Tedious Western, that's a disappointment given the talent involved.

By the time everyone's done their darnedest to undermine this romance and the tirelessly selfless St. Danny has begun to contemplate cutting the apron strings, they've all nearly worn out their welcome. It's simple, sweet and uninspired.

Lyne's efforts to be both passionate and artistic are generally successful, although a few sex scenes are disturbing and arguably close to salacious.

It's just too tempting to dismiss it as extremely long and incredibly disappointing. It's challenging, divisive and has moments of beauty but leaves you cold.

There's lo-fi charm in the musical numbers and heartfelt turns from the young cast but the story drifts along without offering much that we haven't seen before.

Apart from a couple of nice touches - like a faked orgasm scene that's almost as off the wall as the one in When Harry Met Sally - mark this firmly in 'Should Have Been Better'.

Trying so hard to recreate the stylish spy comedies of the 60's, Turner and Quaid pose unconvincingly as the couple in New Orleans when their maternity leave is cut short. Sadly they the required chemistry and their banter falls decidedly flat. The only redeeming feature is the support of Stanley Tucci.

Although there are some great moments (one for Nicholson recalling the toast scene of "Five Easy Pieces"), Penn's intentions lose their way.

What sounded like a bad idea before it started shooting, proves such an atrocity that it makes her last effort, The Beverly Hillbillies, look almost Oscar-worthy.